Tackling violence against women in the theatre is often a controversial matter. To identify the ethical risks that victim representation may entail, we conduct a comparative analysis of two works about Ciudad Juárez’s feminicides staged in Barcelona: 2666 (2007), an adaptation of Roberto Bolaño’s novel directed by Àlex Rigola, and House of Strength (2011) by Angélica Liddell. This article argues that while Rigola reduces victims to mere sexual objects with no narrative of their own, Liddell places the voice and resilience of Mexicans in the foreground and represents their bodies respectfully. Adriana Nicolau is completing her doctoral studies on ‘Feminisms in contemporary Catalan theatre’ at Universitat Oberta de Catalunya (UOC) in Barcelona. Her publications include articles for Feminismo/s. Teresa Iribarren is an assistant professor at UOC, where she is the Director of the Catalan Literature, Publishing, and Society research group. Her current research focuses on narratives of violence and the promotion of human rights in literature.